Note: the required Max/MSP patch for the soundscape is available directly from the composer. Please contact the composer through the Canadian Music Centre.

Still Light receives its name due to the static nature of the material. A repeated gesture leaps between three octaves, juxtaposed with a low timbre trill. Together these actions are repeated albeit in variation. Around the halfway point of the work this core material literally flips on itself. The timbre trills are heard in the highest range, rather than the lowest and the wide ranging, and flexible material that had been leaping octaves, is now constrained to the lowest register. The last third of the piece introduces rapid flutter-tongued passages. The electronics capture specific notes for processing, including a chorus effect, reverb, flange and several harmonizers. Increasingly the amount of captured pitches, and the range of effects, is expanded to mimic similar ideas from the flute part.